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Month: April 2018

How UniDosh will help you make some easy money

We’ve all been there. You’re coming to the end of your loan, and you’re living off beans, pasta and Sainsbury’s vodka. You want to go to that night at Hidden with the rest of your house, but you just can’t afford to right now.

It’s not like you’ve been lazy – you’ve been looking for part time work, but living in an area with thousands of other students vying for the same jobs makes it somewhat difficult.

Enter UniDosh. They claim to have the answer to all of your worries. It was created by two students, Oliver Jacobs and Joseph Black. After witnessing  to the financial struggles students’ face whilst at university, they have devoted the last 2 years around their studies to  revolutionising the way in which students both earn and save money throughout their time in higher education.

Students now have the ability to choose between affordable services and an additional income, whilst at the same time offering the opportunity to help each other.

Photo: UniDosh
Photo: UniDosh

UniDosh was fully launched in September 2017 in Manchester and now has over 5,000 active students trading on the platform. UniDosh intends to generate as many jobs possible for your local student community and as such will be opening up its platform to the general public this coming September.

The mission remains the same, to support the student community through providing easy, reliable and safe work around their studies. It is important to note that only students will be eligible to accept jobs and upload their services!

Josheph Black told us that “Students go to university and automatically think they will get themselves a job at a bar or a shop, however the reality is that those jobs are paying minimum wage and making them work horrible hours, which in turn is seriously affecting the main thing they’re at university to do – study.”

Joseph and his partner Oliver have gone from strength to strength, having won multiple awards, including TOG100, hosted by ‘The Office Group’, ‘Accelerate places’ Northern pitch night, being named the Joseph Black and Oliver Jacobs as ‘Young entrepreneurs of the year, 2017’ by ‘EY & The Tabs’ Founders 30, as well as being named amongst the top 200 EU start ups by ‘Webit’ festival Europe, where the two will be exhibiting and pitching for a chance to secure further investment to help scale UniDosh across the UK.

For more information visit their website, or download the app on iOS or Android.

 

Preview: 2000 Trees Festival 2018

Summer is coming, 2000 Trees is on the way, and you should be excited. Taking place at Upcote Farm in Cheltenham, 2000 Trees always brings a stacked line up from some of the best Rock, Metal and Punk across three days. This year is no different.

What started off between in 2007 between six friends has taken a life of its own. The festival has won several awards, including the Best Grassroots festival award at the UK Festival Awards last year, and has seen praise from various publications such as The Independent.

Its commitment to providing an affordable high-quality line-up and a great atmosphere has shone through every year and the festival has gained a reputation as one of the best in the country because of it.

Only two headliners out the three have been announced so far, but the line-up is already packed to the brim of outstanding acts.

Headlining the main stage on Thursday night are post-hardcore legends At The Drive-In. They will be making their Trees debut this year and will mark the first time that the stage has been open on Thursday. They are sure to bring their chaotic show with them in what will be their final UK show of 2018.

Right on the heels of their latest album, the electronic-infused punks Enter Shikari will be closing the festival off on Saturday night. Known for their incredible stage production and energetic shows, Enter Shikari are going to deliver what is set to be one of the most memorable headline performances in the festival’s history.

Photo: Rob Scarlett
Photo: Enter Shakari by Rob Scarlett

They won’t be the only bands making their Trees debut this year. Gracing the site for the first time includes bands such as Turnstile, Touche Amore, Ho99o9, and Hell Is For Heroes.

We also see returning favourites with Frightened Rabbit, Blood Red Shoes, And So I Watch From Afar, Creeper, Basement, Queen Kwong, and Arcane Roots gracing the line-up again.

Trees are also renowned for showcasing some of the best and exciting artists in the underground rock scene and this year is no exception. Leading the charge includes Nervus, Conjurer, Gender Roles, Dream State, Muskets, Soeur, Black Honey and Haggard Cat.

With still many more acts unmentioned and plenty left to announce, including the final headliner, 2000 Trees is shaping up to be another incredible year. This is not one to be missed.

Take Action! plans protest for strike compensation

Take Action! UoM have organised a protest in order to demand compensation from the university after the recent industrial action.

The protest is taking place under the Whitworth Arch at 2:30pm on Wednesday 25th April 2018. It will coincide with the University of Manchester’s senate meeting.

The group will be handing out flyers laying out exactly what they want from the university now that UCU and UUK are back at the negotiating table and further strikes have been suspended.

The group, along with many other students, believe that the lost lecture time during the 14 days of strikes in February and March meant that they weren’t getting the university education they paid for.

The university does not have to pay lecturers for the time they were on strike, so there is currently a debate about where that money will go next. The Students’ Union are currently pushing the university to use it to cover graduation gown hire, but so far no concrete decision has been made.

Julie, one of the admins of Take Action, told The Mancunion: “the university is not being very transparent in how it’s going to use the money that it’s ‘saved’ from the strikes, so we want to make sure they make good use of it”.

David, another admin of the Take Action group, clarified their demands: “that the university include us in the process of what they’re going to spend the money on and listen to our demands… we want them to be transparent about the figures. In the future we actually want something to change, because this happened ten years ago and [the university] doesn’t really seem to have learnt from it”.

Julie continued by saying that the group want to “agree on a date with the university to which they tell us how much money they have”.

When asked what they wanted to say to the university, David said “to tell them to get their arses in gear essentially”.

A University spokesperson said: “We are in discussion with our Students’ Union about how we best deploy funds from the strike to support students and will reach a decision which takes all relevant factors and views into account. The views of students, submitted to the Students’ Union, would be welcome as part of this dialogue”.

Review: Ghost Stories

There has been somewhat of a lull in British Horror over the past decade. Since the turn of the millennium, names like 28 Days Later, Eden Lake and The Woman in Black stand out amongst a crowd which is far from threatening towards American horror. Even elsewhere in Europe, countries such as Spain are building stronger reputations within the genre thanks to Paco Plaza and Jaume Balagueró’s REC series, not to mention Guillermo Del Toro’s works. Scandinavia have impressed equally during the previous ten years, with vampiric masterpiece Let the Right One In and, most recently, Thelma.

However, this disturbing, cinematic realisation of the London stage play is a comforting — or discomforting — indicator that there is still life left in British horror. Adopting a very similar structure to the original text, Ghost Stories follows Dr Goodman, a Professor of Psychology whose career revolves around the debunking of theories that the supernatural exists. However, after the sudden reappearance of Charles Cameron, a 70s paranormal investigator and Goodman’s childhood idol, the professor is presented with three cases which Cameron cannot not explain, and a strong test of Goodman’s scepticism ensues.

For the first case, Goodman interviews Paul Whitehouse’s belligerent night watchman, Tony Matthews, who is plagued by terrors in the dark during a shift at a former women’s asylum. It is almost inconceivable to think that this is the same actor who is renowned for his sketch shows The Fast Show and Harry and Paul, as his character his plunged into an abyss of fright and dread.

The second tale is told by seemingly unstable teenager Simon Rifkind, played immaculately by Alex Lawther who, judging by his turn here as well as his roles in Black Mirror and The End of the F**king World, is destined for great things. Simon tells Goodman about how he was pursued and taunted by a demonic being after his car broke down in a forest at night.

In the final story, Martin Freeman plays a city banker, Mike Priddle, who is tormented by a poltergeist in his home, as his wife gives birth in hospital.

Many viewers assume that the horror genre is the easiest to act for, yet this is solely because popcorn audiences have been brainwashed by the likes of Resident Evil, Predator et al into thinking the standard reaction in the face of peril is to grit one’s teeth and take on evil with an assault rifle or machete.

The beauty of British horror is that on the whole, it is void of these gung-ho heroes and heroines — time and time again it captures perfectly the notion that in reality, our brains lose the majority of their function when confronted by sheer terror, with our only impulses being to run or scream. Nyman, Whitehouse, Lawther and Freeman all embody this immaculately, with every widening of an eye or drop of sweat proving vital to maintaining credibility within the bubble put forth by Dyson and Nyman.

There are clear references and influences from classics such as Rosemary’s Baby and Don’t Look Now, but it is the blend of these older horror tropes and features of the modern-genre which makes the film succeed with such fervour. There is just something about the domestic setting of British suburbia which I find terrifying in contexts such as these.

Those childhood fears of hearing something upstairs, or being afraid of the dark, all resonate in Ghost Stories — in fact the creepiest moment for me lay outside of the three stories, when Goodman arrives at Rifkind’s house. There are also indeed jump scares, which are sometimes frowned upon by critics, but if it works as well as it does here, then what is the problem?

Resolutions are integral to horror films — they are often the culmination of constant foreboding and suspense and even the slightest mistake can result in dissatisfaction and anti-climax. Throughout Ghost Stories, there are constant hints and glimpses (which shall remain secret for spoiler purposes) of a twist lurking in the background, yet sadly, the pay-off does ultimately disappoint. It is a familiar twist which has been seen across various genres, and I cannot help but feel that Nyman perceives it as far more unorthodox than it actually is.

Despite this flaw however, Ghost Stories remains an infinitely entertaining and unsettling horror which will have you wide-eyed and clutching the cinema seat. Nyman — an actor who is criminally underused in film — is outstanding as always, and his prestigious supporting cast are well on par. It may not have much competition as of yet, but it’s a serious contender for Horror of the Year.

4/5

Interview: Mabel

Even after a long day of illness and interviews, and confined to a rather dingy dressing room, Mabel was still smiling and greeted us with a warm hug. With a cool head and a welcoming gesture, the young London star invited us to join her on the sofa for a cosy pre-show chat.

The show was explosive; tinged with TLC-esque smooth R’n’B and sparked by popping afrobeat, Mabel demonstrated diversity and humility as she effortlessly crooned her way through delicate heartbreaker to girl power sass-infused pop smash hit. After a quick transition from London girl to national chart sensation, it is clear Mabel has her head screwed on and knows how hard she has to work to get to the top. We got to know the woman behind the hits…

You supported Harry Styles on his UK tour recently, how was that?

Interesting. Different settings. I miss it. It was such an incredible experience and it’s given me this mad hunger to play those massive venues. I want to do it now but I’m like, you know what, these venues are sick too ’cause I get up close and personal with the people who listen to my music. It was really good – I think having to perform every night made me a really strong performer and I feel like I have more fun with it. It’s not as deep as it used to be.

I guess smaller venues like this are more intimate for you?

Yeah, it’s nice to put faces to the people that listen to my music.

What’s Harry Styles like?

I cannot stress enough how lovely he is. Except for that one time when he threw a pie in my face, which was mad interesting. It was in Dublin last week he came up on stage during my last song, and ’cause it was my last show just thought it would be funny to cream pie me! I got pied by Harry Styles… no, he’s the loveliest person and what he’s done going from a group like One Direction to doing his own thing is so hard. He works so hard, and then to be the loveliest person on top of that, I’m like ‘wow’.

But it’s got to be good now, headlining your own shows, right?

Uh-huh. It’s a really nice feeling, those few seconds before I go on stage, thinking these people have already bought into me, and they’re here not ’cause they want to see me fail!

How have the first nights of the tour gone so far?

They’ve been really good. Last night was really good in Dublin. It was a really loud crowd — every time I tried to speak they would just scream. This is all still so new to me though so I still get mad emotional.

This has all happened really quickly for you since ‘Finders Keepers’ last year. How have you dealt with that?

I’m still dealing with it! I take it day by day. Life is very different, for the better. You get a lot of haters, which is annoying and I used to take it really personally but now I don’t trip on it too much. I’m still adjusting, you know, there’s not a lot of spare time. But it’s given me this mad drive, and I’ve had a taste of it and it makes me think I want to do it times 10. You know, I’ve got my top 10 but now I want my number one. But I’m not naive and I know I need to work hard.

There’s a huge, strong female presence in the British music industry at the moment, and you’ve worked with the likes of Raye and Stefflon Don etc. As an artist do you feel like that female presence is growing?

Definitely. I think, in general, British music is the best in the world right now. I think in 15-20 years the way that we look at 90s R’n’B as the best time for that genre, we’ll look back and think this was the best time for British music. The fact that so many of us are women is sick. We’re all super supportive of each other. I have all of their numbers, we wish each other good luck, go to each other’s shows. It’s easier for men to pit us against each other, when really we’re stronger when we’re together.

Who would you say are your biggest influences? 

My big sister got me into 90s R’n’B and it was the only thing we connected on. She let me borrow her records, and we’d sing harmonies and make up dances together. Lauryn Hill, Destiny’s Child, Justin Timberlake’s debut Justified — they were all massive for me. Now I’d say my peers like Jorja Smith and Stormzy inspire me. It’s sick to have friends who are such sick artists.

What sort of stuff are you listening to at the moment then?

I’m such an album person. I find an album and then I just rinse it. It’s sad, people put out albums that are collections of songs trying to all be singles – but to me that’s more of a mix tape. It takes me ages to get into new music. There’s a guy called Baazi, Division who are signed to OVO, and I’m so excited about Jorja’s album. I love a lot of pop stuff. I thought Bruno Mars’ album was sick, and it had a concept behind it, as well as Channel Orange, A Seat At The Table, Common Sense.

What’s your plans for the next few months?

My tour takes me up to 6th May, then it’s festival season. So I’m trying to write my album on the road, which obviously really affects what I’m writing. The album is coming though and I’m ready now. I’ve taken my time because I was so young when I started putting music out, I felt like I didn’t have enough to put into an album. I’ve fucked up enough relationships and done enough crazy things now. There’s a single coming just before summer too, and I think ‘Finders Keepers’ and ‘Fine Line’ give people a good sense of what it’ll sound like.

Last question: you mentioned starting in the industry young, so what would your advice be to newcomers?

Step 1: spend as much time by yourself as possible figuring out who you are and what you’re doing. Love all your bad songs before you get involved with labels and managers, ’cause if you don’t know what you want then you’re not going to end up where you want to go. I’d also say try and collaborate with as many people as possible, ’cause you might just find one person that becomes the Timberland to your Aaliyah.

Review: Of Mice and Men

Of Mice and Men may be one of the only texts that current theatregoers may be more informed on than the production’s creative team. It’s in fine company with the likes of Death of a Salesman, The Crucible, and Mister Pip — Of Mice and Men is a crucial component of many twentysomething’s GCSE English Literature experience.

It taught us the figurative, such as how ‘red’ means ‘danger’.  Yet, despite all of Steinbeck’s foreshadowing, we are still shocked by its ending. I won’t say what it is though, in case it somehow hasn’t been spoiled as it has for many others.

I was surprised to see that John Steinbeck had written the stage adaptation and was curious to see which details of the novella he had included.

Selladoor’s touring production was on for only several days at the Manchester Opera House, the slightly smaller, slightly younger sister to The Palace Theatre. The Opera House sits neatly between Spinningfields and Castlefield on Quay Street.

The set was spectacular — a minimal barn interior that stretched to the full height and width of the stage — and Mark Aspinall’s musical accompaniment was much needed to fill the nineteen-hundred-plus capacity theatre. These two elements worked in tandem to heighten the theatricality of the play. This was necessary, as the story principally revolves around themes of loneliness, oppression and death.

The transitions between scenes were elegant as parts of the set were operated off-stage and we were easily transported from the brush to the dorms. Notably, Steinbeck’s theatre adaptation missed out a lot of places and settings that are mentioned in the novella.

Matthew Wynn played a large, vulnerable and optimistic Lennie to Richard Keightley’s George, who seemed more interested in being ‘one-of-the-boys’ than maintaining the loyal relationship portrayed in the text. This meant that the motivation of George’s actions in the final scene seemed different, but still equally as justified.

All supporting actors gave strong performances that complimented the narrative well, with Andrew Boyer’s performance as Candy unavoidably endearing and sympathy-inducing due to the harsh yet vulnerable quality of his voice. Out of all the characters in Selladoor’s production, I longed for Candy to succeed.

One thing I found slightly irksome however, was the absence of Curley’s wife’s brown hair and iconic red dress. Possibly, Steinbeck intended for the theatrical version to stand separate to his world-renowned book, but my education would not allow my experience to diverge the two.

Live Review: Little Comets

Little Comets’ music seems to bathe your soul in warmth and nostalgia. They’re an old-school indie outfit complete with nifty guitar licks, compelling lyricism, and an endearing air of modesty. They are, and have been for a while now, the most underrated indie-rock band of the 21st century.

Songs like Joanna, Bridge Burn and Adultery are entirely representative of this quintet’s ability to concoct intellectually stimulating storylines which are embellished with the most intricate guitar riffs and exquisite use of soothing synth beats. What is absolutely clear is Little Comet’s passion for writing songs that resonate in the chest whether that be in a wrapping your arms around your closest friends and belting the catchy lyrics i.e. ‘Dancing Song’ or ‘One Night in October’ or to the other extreme when they perform songs such as ‘Violence Out Tonight’ and ‘The Blur’, ‘The Line’ and’ The Thickest of Onions’.

Tonight, the latter was undoubtedly their best performance. With a deep sea blue wash lighting up the minimal yet very typical Comet’s set-up, complete with the distinctive hand-writing of the members decorating each instrument and piece of equipment in sight. This raw and pure image Little Comets exhibited whilst presenting the meaningful and moving lyrics that The Blur possesses really drove home just how important this band regard darker issues such as sexual violence, and how they utilise their platform as musicians to help educate their audience.

Having seen Little Comets for the first time 6 years ago and seen them three times since I can’t understand why they are not gaining the attention they deserve. They’ve always been a band I return to, religiously. Songs such as Isles and A Little Opus have quite literally framed my childhood, right from when I saw them perform at my local festival ‘Party in the Park’ in Leeds. Despite it being clear that Little Comets have acquired a very loyal and loving fan base I can’t help but feel frustrated that for some unbeknown reason, they have not reached the audience they are more than worthy of.

Performances like the one Little Comets showcased to the sold-out Manchester Club Academy really captures just how incredibly talented this hidden-gem of a band is. The crowd held onto every note they played and at times even sang louder than Vocalist Rob could ever match, illustrating the sheer passion that many fans possess within their hearts for the tunes Little Comets have written. With hypnotic guitar riffs and lyrics that continuously make you question your own positionality, Little Comets deserve far more attention than what the music industry gives them.

9/10

Review: Mixtape

A new production devised and performed by the Royal Exchange Young Company, Mixtape tells the stories of Manchester’s young people through the framing device of the city’s three rivers. Part gig, part musical, part play, the Company weave these narratives together with ease, creating a cohesive evening of theatre that is uniquely Mancunian.

Led by our emcee, Elli Kypriadi, Mixtape is an evening full of foot stomping and buzz. Whilst there are moments that were overly earnest, the cast consistently put their all into the production across the evening. There was a real sense that each cast member brought their particular skills and interests to the table when devising the production, from Gabriel Clark’s smattering of Italian to Charlie Shaw’s DJ set at the end of the night.

It was some of the more peaceful moments that really stood out for me: John Featherstone’s monologue about deafness had the audience enthralled, as did Aidan Feely talking about coming into the city on his own for the first time. In short, each cast member brought something unique and interesting to the show, whilst maintaining the sense of ensemble that really made the night shine.

Particular notice must go to Zoe Ndlovu as Siphilise, whose passionate fury and powerful vocals in the song ‘Too Black, Too White’ had the Royal Exchange Studio quaking. Mixtape didn’t shy away from dealing with race, sexuality, religion – but this never felt tokenistic or cynical. Instead, the Young Company were dealing with the issues that directly affect them. Even a song as comparatively light hearted as Rebecca Xuan Le’s ‘Timelines and Twitter Feeds’ dug into the loneliness of social media from the perspective of someone who seems to be succeeding.

Mark Distin-Webster’s lighting design really contributed to turning the Studio into a gig setting and, with this alongside the set, I was oddly reminded of the work of Julian Crouch and Kevin Adams on the recent Broadway production of Hedwig and the Angry Inch. As in Hedwig, the gig set-up of this show engenders intimacy between audience and performer. I felt more could have been done to further this as whilst the use of some audience interaction had potential, the actors seemed uncomfortable in these moments.

Ultimately, however, Mixtape is full of bangers, hummable tunes, and a whole lot of hope for the future of Manchester’s theatre scene.

Interview: Shame

Explosive five-piece Shame has recently finished their 22-date US tour, which they described as, “meat, desert, and sunshine” — emphasising the exhausting nature and carnivorous appetite that such a long time gigging in the United States has imposed upon this spirited South-London quintet.

Now, Shame has returned to their homeland to resume their hunt for new converts, and to lead their cult followers through confirmations in preaching the ground-breaking post-punk debut album ‘Songs of Praise’.

After Dead Oceans record label reached an agreement with Shame, the lads retorted that they didn’t like the idea of “going to spend money on a fancy meal”, instead deciding on tickets to Thorpe Park before signing their record deal on the Rumba Rapids…despite vocalist Steen’s disdain for rides.

Unlike their undoubtedly turbulent rapid ride since the band’s launch of ‘Songs of Praise’, Shame has received a largely unanticipated, faithful reception. As guitarist Sean Coyle-Smith states, they “expected far more people to slag us off than they did”. Instead, the vast majority of publications such as the NME, DIY and The Times have credited Shame with four, if not five, stars alongside highly impressive reviews.

Shame has taken the small portions of criticism it has endured with a very tongue in cheek undertone, seamlessly fitting their confident and incredibly non-exclusive attitude as a band. Sean and erratic bassist Josh Finerty emphasised this mentality in their recollection of comments, such as those which described the band as “vacuous bags of wind floating nowhere in particular”, “more indie for the landfill,” and “if ladybird books formed a band”.

Yet, this delving into such comments was immediately met by an amusement felt by both members, who praised the creativity of such criticism. In fact, as frontman Steen entered the stage of the Brudenell, he invited any declarations of viewpoints, proclaiming he’d much rather hear extreme views of their music, as he disregards “anything in between” as unimportant.

This bold attitude is reflective of the rawest roots of punk, despite the fact that the five-piece claim to have never really been into classic punk figures such as Sid Vicious and Jonny Rotten. In fact, Sean leans more towards the opinion of this type of punk as “a tiny bit boring.”  Instead, they emphasise the importance of both old and new. The old being more to the likes of “The Stooges, Joy Division, and the Pixies,” whilst also being surrounded by more contemporary artists, such as those up-and-coming within their home radius of South London.

Shame relish in the misconception of their image as a new Christian band, given their title ‘Songs of Praise’ and equally wholesome photograph which frames the cover of their debut record. Throughout live performances, Steen uses this as a humorous, recurring sarcastic statement as fuel for their persistently comedic and incredibly nonchalant demeanour.

Nonetheless, Shame is certainly not lax about all things. This was shown in Steen’s abrupt announcement that absolutely, “no abuse will be tolerated at any of the shows”, as well as the importance they impose on using the platforms they have as musicians to “influence someone’s opinion or enlighten people on a topic they are not particularly familiar with.”

It is no secret that Shame leans strongly to the left, as seen in the crude number ‘Visa Vulture’ directed at Theresa May. However, when asked who they prefer over Trump or May, they agreed even though Trump has some merit in that he represents a form of anarchism, he is undoubtedly who they’d prefer to kill.

As fans gathered in the 400-cap venue of the Brudenell Social Club, I don’t believe that any of those in the house fully anticipated the band’s volatile, captivating stage presence. The sheer energy of each of the five members bounced brilliantly off the sweaty, claustrophobic space, charging the air with electricity that sparked every time Steen made eye contact or launched himself at this amorphous mass of body fluids, strained arms, and flying shoes.

10/10

Exclusive student night at The Crystal Maze LIVE Experience

As fun as it can be to spend another night in that grungy bar filling your boots with Jägerbombs, why not go alcohol free for a night (until the celebrating begins in the Maze bar afterwards) and book a trip for your group of mates to The Crystal Maze LIVE Experience for just £25?

On the 30th of May, the popular Crystal Maze LIVE Experience in Manchester is hosting a ‘student only’ night, exclusive to University students from all over the country.

With the attraction offering a whopping discount of nearly 50 percent off ticket prices, those able to present their valid photo student ID card should book a place in one of the remaining slots between 4:30pm and 9pm.

If you and your mates love a bit of Richard Ayoade and enjoy a challenge, this is the perfect night out for you.

Though, if your ideal night isn’t complete without having a cocktail, celebrate your success at the attraction’s exclusive Maze bar after the show*.

Teams of eight will be led around the maze’s four themed zones: Aztec, Medieval, Industrial, and Futuristic, by a charismatic Maze Master (tip: Befriending them early on is a wise move if you want them to impart their insider knowledge with you).

Inside each zone are different challenges: skill, physical, mental, and mystery. It’s up to your team captain to decide who takes on which challenge with the ultimate goal of winning a crystal. Each crystal won means more time with your mates in the iconic ticket dome, where the aim is to catch enough golden tickets to bag yourself a spot on the coveted leader board!

The whole experience is deliciously daft, and hilariously funny. Expect to be crawling, running and even sliding your way around the maze and to finish.

All visits must be booked in advance by visiting The Crystal Maze’s website.

*Drinking before the Crystal Maze LIVE Experience will prohibit from participation with no refunds available.

 

New BioShock game is reportedly in the works

Last week, Kotaku wrote an article taking a look at the rapidly declining Hangar 13 — the studio behind 2016’s Mafia III — a piece that might have kept a fairly low-profile had it not been for the raw, juicy gaming rumours that belied its otherwise unassuming title.

Within this very thorough and extensive article, the writer, Jason Schreier, dropped the bombshell that whilst learning the exact nature of Hangar 13’s mutiny, many of those didn’t just jump ship but found a whole new bandwagon to hop on only next door, codename: “Parkside”.

During the period after Mafia III’s release, the studio underwent numerous restructurings and suffered two whole waves of redundancies after the games underwhelming scores. Many dissenters were said to have come out prior to the game’s release in fact, with many anonymous sources revealing that production was flawed and ultimately rushed to release date.

Photo: BagoGames@Flickr
Photo: BagoGames@Flickr

Throughout this period of time, however, many employees had gotten talking to the covert and small group of people working across the way. Little was given away other than the codename Parkside at first — well, that and the fact that it was clear that they were keeping their heads down and grafting hard.

Meanwhile, those still remaining at Hangar 13 after the first bout of layoffs had become increasingly frustrated at the lack of direction: they had already abandoned pre-production on Mafia IV and were now a year into building a new IP called Rhapsody. It was a project with very little clarity in its settings, its mechanics, even its concept.

The contrast between their own aimless studio and what was evidently a very focused group of individuals sparked even more intrigue, and after a while, the prying paid off and the information was leaked internally that the game this mysterious studio was working on was the next BioShock game. As you can imagine, appetites were officially whetted and more chaos ensued.

Many employees already feeling dislodged and threatened by Hangar 13’s volatile climate expressed their desire to make the switch to, clearly, a more driven studio; those within Parkside were resistant and reluctant, but sure enough, six vacancies have opened up at Hangar 13 and a number of those six are said to have pinched a spot among Project Parkside.

Christopher.Michel & BagoGames @Flickr
Christopher.Michel & BagoGames@Flickr

Kotaku deem the inside sources’ information to be accurate and given its correlation to the job openings on Hangar 13’s website, not to mention the fact that Strauss Zelnick, CEO of Take-Two who own 2K Games (and, incidentally, one of the big names that attended the recent violent video-games conference), has assured fans that BioShock is “unquestionably a permanent franchise”. It seems fair to say that this story has legs.

The real question is: where exactly will they take us? Back to Rapture? More Columbia? Or somewhere entirely new?

Live Review: The Orielles

The Orielles have rocketed on to the scene this year, releasing a critically acclaimed album and embarking on a series of shows across five European countries with much anticipation and excitement. The Halifax outfit dropped by for a sold-out Gorilla on Saturday for the final gig of the tour.

Immediately clear was that Gorilla was the perfect venue choice for them; providing a venue intimate enough for the band to demonstrate their DIY-roots, yet large enough to feel like they’ve moved beyond playing small shows to less than a hundred.

Gorilla is also, in my opinion, the perfect music lover’s venue: the staff are friendly and welcoming, it’s easy to get to, and usually is engineered and rigged perfectly to suit the act playing. This might be some of the reason why The Orielles attracted such a varied audience, with everyone from ear-plug adorning 6music dads to Sixth Formers sporting Black Honey t-shirts. It made for a convivial atmosphere, which placed the emphasis of the night on the performance of the band, not the behaviour of the crowd.

Entering the stage to ‘I Love The Nightlife (Disco ‘Round)’ by Alicia Bridges, The Orielles began their set steadily with ‘Old Stuff, New Glass’ through to ‘Henry’s Pocket’, with a lo-fi, grunge-esque sound ever-present. It was interesting to observe just how the band took on the challenge of re-creating the ambitious production that defined their album, Silver Dollar Moment.

Their reverting to their unrefined roots was certainly refreshing: it allowed the band to experiment more with the live performance, whilst remaining firmly in the sound of the album. This was best exemplified by the fifth song of the evening, ‘I Only Bought It For The Bottle’. Akin to the famous Saturday Night Live sketch, The Orielles had a fever — and the only prescription was more cowbell. This extended edition of the single was met with rapturous applause from the audience, which re-energised the show.

This re-energisation was a key turning point for the gig: unfortunately, non-singing frontman Henry Carlyle’s microphone was far too quiet to be heard by many in the venue, meaning much of the wit and pleasantries were lost in the process. A similar problem hit lead singer Esmé Dee Hand-Halford, too. However, after shouts from the crowd to “turn it all up”, the engineers responded and everything was back on track. Carlyle deserves a special mention for his frontman skills, using his West Yorkshire tones to encapsulate the audience between songs, culminating in “how early are the set times tonight? It’s like fucking prinks before a heavy fucking session!”.

The newly turned up mics allowed ’48 Percent’ to be performed at its best, with Esmé Dee Hand-Halford vocals shining through as well as they do on the record. The addition of Alex on keyboards also allowed the band to experiment more as the set progressed, with ‘Liminal Spaces’ and ‘Blue Suitcase (Disco Wrist)’ coming over incredibly, and quickly erased memories of the sound issues from the first half of the set.

Having finished the main body of the set, they returned to the stage for the customary encore, and it must have been the shortest gap between set end and encore start seen at Gorilla. The Orielles capped a great night of music off by producing a special eight-minute rendition of fan favourite ‘Sugar Tastes Like Salt’, which can only be described as awe-inspiring, especially alongside the impressive light show that surpassed any I’d seen previously.

On reflection, The Orielles lived up to the hype as one of the hottest new guitar bands in Britain. Confident, charming, and immensely talented, only a mic issue stopped this from being one of my favourite gigs of all time.

7/10

Album Review: DMA’S – For Now

Following the release of For Now’s first single, ‘Dawning’, DMA’S’ guitarist Johnny Took told The Mancunion that the energetic, guitar-heavy track would not be setting the tone for the rest of the album.

Took wasn’t lying. Fans had better look to second single ‘In The Air’, for a better idea of what For Now has in store.

DMA’S’ second album is a far more matured and mellowed release for the Australian rock trio. Like ‘In The Air’, the majority of For Now presents an overall, more laid-back sound than first album Hills End, released in 2016.

This, however, is no criticism; ‘Health’ is a goosebump-inducing track which includes harmonies that outdo any featured on DMA’S’ older releases. For Now’s relaxed vibe does not mean the album lacks Britpop-like upbeat rhythms and soaring vocals the band are known for — ‘Lazy Love’, ‘Warsaw’ and ‘Time & Money’ are ideal tunes for those sunny summer afternoons. In particular, the simplicity of ‘Tape Deck Sick’, with a non-invasive guitar and drums backing O’Dell’s crisp vocals, shows that DMA’S do not have to rely upon the popular, lairier sounds which more prominently featured on Hills End.

Even with a chill vibe, For Now certainly does not lack magnificence. ‘Do I Need You Now?’ and the album’s stunning closing track, ‘Emily Whyte’, are the album’s most impressive tracks, both presenting a very grand sound. Particularly Emily Whyte’s breathtaking guitar solos.

With more emphasis having seemingly been placed on the album’s production this time around, with the band having drafted in The Presets’ Kim Moyes to assist, it is evident the hard work has paid off. Even tracks which fans will find a more familiar to DMA’S’ celebrated, rowdier material – ‘Break Me’ and third single, ‘For Now’ – manage to show the band’s progression through this more developed production. This is unsurprising, as Took had claimed the band had planned to move forward with their style.

Proving that DMA’S a more than just your average indie rock band that repetitively produce the same sounds, For Now, is a triumph. If those really are bongos I am hearing on ‘The End’, each track truly builds upon the band’s older approaches. In moments beautifully simplistic, whilst in others triumphantly monumental, For Now, is sure to be a hit for fans and new listeners alike.

8/10

For Now is released 27th April, with singles ‘Dawning’, ‘In The Air’ and ‘For Now’ available now. Catch the boys this April and May on their tour, stopping at numerous cities in the UK.

North Campus evacuated due to chemical scare

Hundreds of staff and students have been evacuated from the Manchester Institute of Biotechnology over fears of ‘unstable chemicals’ found in a laboratory.

Emergency services were called to the scene on Princess Street around 2.15pm and the area has been cordoned off. The University of Manchester told Manchester Evening News that the chemicals were being used “as part of ongoing work”.

The George Begg building, a university engineering building, Princess House, and the Pendulum and Ibis hotels have also been evacuated. Greater Manchester Police (GMP) has reportedly asked people to avoid the area.

Izra Mahfouz, an International Business, Finance & Economics student at the university, described the evacuation to The Mancunion. “I got back from uni [sic], and I think there was a chemical outbreak or something, so they evacuated all the buildings, and they said it would be for ten minutes to two hours, and it’s been like that ever since”.

She said that no further explanation had been given to her by anyone. When asked how she felt, she responded: “well I just need to study, that’s the main thing!”

Manchester Evening News has reported that an ambulance and four Hazardous Response Teams (HART) were sent to the scene, and a bomb squad was due to arrive soon. GMP has said the substances are “being assessed”. It is understood that the chemicals became volatile after they were stored incorrectly.

Students were visibly shocked after being evacuated, with some fearing a bomb might have been found. They received an email at approximately 1.30pm warning them that “hazardous legacy chemicals” had been found in a freezer, and that the area would have to be shut “as a precautionary measure”. Nobody has been injured and GMP does not believe the incident to be terror related.

The University of Manchester said in a statement: “Staff and students based in those buildings are being advised to go home. If you are unable to go home for any reason you are advised to go to room B1 Sackville Street Building where further information and advice will be made available”.

This is a developing story.

A degree is all we need to give you, say University

Following a question about the university’s ability to provide a satisfactory education during the pension strikes, Professor Clive Agnew (Vice-President for Teaching, Learning), told students “we have taken advice on this and the contract is to deliver a degree, that is the focus”.

Students report that this was followed by an outraged cry of “not an education?” from the audience, which was unanswered.

Students from the School of Social Sciences were invited to attend an open meeting on Monday 16th April, which was attended by senior university management including Vice-Chancellor Dame Nancy Rothwell. The meeting was an opportunity for students to pose questions to a panel about the university’s management of the University and College Union’s recent strike action.

The panel comprised of Dame Nancy Rothwell, Professor Clive Agnew, and Deputy President and Deputy Vice-Chancellor Professor Luke Georghiou.

Reddin told The Mancunion “I can’t say exactly what was going on in Nancy Rothwell’s head after that, but it is clear that she wanted to move on quickly. She knew he [Agnew] had said something wrong”.

The response reflects a larger concern that students might receive an overall degree, but that their educational experience has been extremely negatively impacted by the industrial action.

Students reported that the meeting attracted a large turnout, with attendee Louisa Rae Reddin suggesting “there are a lot of angry students. I think the turnout overwhelmed the panel; they weren’t expecting so many people”.

The question of compensation for students dominated the discussion. The university representatives maintained that financial compensation for individual students would be impossible to calculate.

The Students’ Union representative Jack Houghton told the panel that the SU were pushing the university to cover the cost of graduation gown hire. This suggestion was reportedly met with sniggers from dissatisfied students, but Professor Agnew expressed his support, telling students “I’m actually quite keen to support that”.

When asked about where the money saved during the strikes would be allocated, the panel suggested that student welfare would be a priority. This prompted questions about the funding for student welfare overall, with students questioning why student welfare was not a usual priority for the university.

One student asked the panel: “If there is a short fall for money for wellbeing that should be dealt with anyway. As much as students don’t want their education to be commoditised, the tuition fees that you charge have made it so, and this situation that we are in. Students are consumers”.

The student went on to state: “The Consumer Rights Act of 2015 states that services must be performed with reasonable care and skill, yet our services have yet to be performed, despite numerous requests to have lecturers rescheduled. It is the university’s responsibility to keep their staff happy, to deliver the product they have sold to students. The University of Manchester have failed to do this…will you be resigning from your post as Vice-Chancellor, and if not, can you please explain why you think it is appropriate for you to continue in your role”.

Rothwell responded, telling students “I may want to comment in the contract we have entered into with students in a moment…I wasn’t planning on resigning, no”.

She explained that reimbursed fees would not go back to students as individuals due to fees usually being paid through loans.

She continued: “This strike is not something we wanted, this pension deficit is not something we or I wanted, but as I have said throughout, our staff have a right to take strike action and we have not imposed on them a requirement to reschedule that teaching”.

A university spokesperson told The Mancunion: “The University appreciates that some students have been affected by the industrial action which has taken place and that understandably those at the meeting were concerned about the impact on their studies. We are in discussion with our Students’ Union about how we best deploy funds from the strike to support students and will reach a decision which takes all relevant factors and views into account. The views of students, submitted to the Students’ Union, would be welcome as part of this dialogue”.

Professor Luke Georghiou also responded to a request for comment, saying a statement would be released shortly regarding how the university will take student views into account.

Dorian Loetzer, one of the student leaders of the ‘Take Action! UoM’ group, told The Mancunion: “It seemed the university was more preoccupied with saying what they “cannot” do, rather than what they can. This was specifically felt when they commented on how students are yet to give them alternative solutions to the ones being suggested by the Students’ Union, implying that it is up to the student body to do their job for them, all the while not giving the student body the necessary information to perform that task”.

Reddin reported that there was an overwhelming feeling of dissatisfaction after the meeting. Dorian Loetzer also told The Mancunion: “We were quite disheartened by the meeting with some of the university leadership yesterday…discussions were kept short and isolated, there was little opportunity for follow-up, and answers were vague”.

Students were also critical of the Students’ Union’s role, with Reddin suggesting that they had been no real contact for students during the strike action, and that the idea of the university funding graduation gown hire being enough compensation was not enough.

Communities Officer Jack Houghton told The Mancunion that the decision to push for compensation to go towards graduation was the result of a survey sent out to students. The results apparently indicated that this was a top priority for students.

He continued to say: “I urge every single student who wishes to work with us on getting the best deal for students to come forward and meet us at the student union building. The SU wants as many opinions as possible, so we can continue to work with the university on getting a fair deal”.

Looking forwards, Loetzer said “Take Action! will continue to pressure university management using all the avenues available to us and will plan more escalating steps in the coming weeks. We encourage all students to find us on Facebook to inform themselves and get engaged”.

Vice-Chancellor Dame Nancy Rothwell is holding a series of open meetings across the university over the week. To find out more, visit the Take Action! UoM Facebook group.

Strike suspended until further notice

The University and Colleges Union (UCU) voted in record numbers to suspend further strike action on Friday 13th April.

64 per cent voted to accept the new proposals from Universities UK (UUK), from a turnout of 63.5 per cent, making the ratio 2:1 in favour.

The strike action in March took place across 65 Russell Group universities for 14 days, and were in protest of UUK’s plans to change lecturers pensions from ‘defined benefit’ to ‘defined contribution’ schemes.

The new proposals included a promise from the University that the original proposed changes to pensions set out by University UK (UUK)  will not be returned to.  A joint expert panel will also be set up to reexamine the proposals, and then to set out new recommendations.

UCU general secretary Sally Hunt said: “The union has come a very long way since January when it seemed that the employers’ proposals for a defined contribution pension were to be imposed.

‘Now we have agreement to move forward jointly, looking again at the USS valuation alongside a commitment from the employers to a guaranteed, defined benefit scheme. USS, the regulator and government now need to ensure that UCU and UUK have the space to implement the agreement effectively.

‘We hope this important agreement will hearten workers across the UK fighting to defend their pension rights and was won through the amazing strike action of UCU members.’’

She also thanked all students and staff who had participated in the strike action.

Manchester’s Vice-Chancellor Nancy Rothwell said: “This is extremely welcome news, especially for our students, as we move into this critical exam and assessment period.  I would like to reiterate my commitment to ensuring that all eligible students progress and graduate as planned.’’

She also went on to say that the university would be working closely with the Students’ Union in the coming weeks and months.

The Students’ Union have been contacted for comment.

Review: A Chorus Line

A Chorus Line is simultaneously a spectacle and a character study.

Telling the story of a day of auditions for the titular chorus line and the individual personalities that make it up, it is a witty, heartbreaking script.

This is supported by beautiful songs and the kind of dancing that makes you want to recommit to the ballet classes you begged your mum to get you out of.

It is, however, not an easy musical to put on. It’s based on a premise many of the audience will never have experienced and takes place entirely in one place.

Director Lucy Scott and choreographer Eleanor Lang have compensated for this by creating a show that is visually interesting to the point of occasional overcrowding but could never be called boring.

Kudos to Lang in particular for modifying the frequently copied opening number choreography and putting her own spin on it, giving the production its own unique voice from the off.

The decision by Scott to have the performers on stage as the audience enters was a nice touch, revealing elements of the characters and immersing us in the world of the chorus line immediately.

There is an additional challenge in the show for a group of student performers. It’s a musical wherein many of the characters are facing their last chance at performing, some are reaching the age of retirement, and some just don’t know what they would do if they don’t make it.

‘Everyone wants to be a star,’ one of the characters drily notes, but these characters just want a shot. A particular notice to Kiera Battersby, whose portrayal of Cassie is perfectly realised.

The character’s desperation and determination were clear throughout the production, and Battersby’s voice and dancing are particularly powerful during her showcase number ‘The Music and The Mirror.’

The production consistently sounds extraordinary. Under the direction of Andy Davies, the band doesn’t hit a bad note and the choice to use pit singers is a sensible one, making the sound fuller even during the choreography-heavy dance numbers.

The UMMTS bands are never anything less than brilliant, and this is one of the best I’ve heard.

There is not a weak link in the cast – every performer does their bit to contribute to the whole, and showcase their comedy (Carol-Ann McConnellogue was particularly wonderful in her small part) as well as their dramatic ability.

Special mention must go to Morgan Meredith, Tom Carswell and Georgia Brown. Not only were they extraordinary in their own particular showcases, but also managed to catch the eye (and the ear) throughout the whole show.

Brown’s ‘Nothing’ completely captured the audience and she moved from comedy to pathos with ease.

UMMTS has done it again: taken an unusual choice of show for a university, given it over to a talented creative team, and created a resounding success.

From the archives, a never published review of UMMTS’ April 2017 production – A Chorus Line. Tickets for the society’s next show, Little Women, are coming soon.

Safety scheme officially launched despite criticism

A scheme involving student volunteers patrolling the streets of South Manchester in an effort to tackle safety concerns has been launched despite initial proposals receiving criticism.

Training will be given in first aid, advice, safeguarding, well-being and self-defence to safeguard vulnerable people, and volunteers will assist in provide on the spot advice for students, providing information and signposting to useful resources and organisations.

Initially, the scheme was called ‘Night Owls’ and was due to launch in a January 2018 but was delayed to initial criticism, which also resulted in the re-branded as ‘Student Angels’.

A soft launch of the scheme took place in March 2018, with students having been able to sign up since then. The re-branded name bears similarity with Manchester Street Angels, a charity that does similar work in and around the Gay Village, but it’s unclear whether this was deliberate.

Jack Houghton, Community Officer for The University of Manchester Students’ Union said: “This is a collaborative scheme, working with Manchester City Council, GMP and other groups in Manchester.

“Everyone is working together for the benefit of student safety.”

Initial criticism centred around fears that students were effectively substitutes for greater police presence, and that volunteers would be themselves vulnerable to threats, crime and violence.

Jack Joscelyne, a Law student at the University of Manchester Law, had said: “so instead of police patrols we’re going to have vigilante students roaming about stopping crime?

Those involved in the scheme insist that student volunteers will not be expected to be actively involved in tackling criminal activity, rather hope the scheme will tackle student issues quickly and on the ground, calling emergency services for support when appropriate but reducing pressure on them.

This announcement comes amidst national concerns over police funding, cuts and resources.

Superintendent Chris Hill from Greater Manchester Police said: “We’re working really closely with the Council and partners across the city to continue to develop a night time economy that everyone can enjoy safely. This includes the thousands of students that come to our city every year.

“By working with these volunteers we that people will get the most appropriate help as quickly as possible – sometimes this will be the Student Angels, sometimes that will be Greater Manchester Police. We’ll be right there when people need our help.

“I would like to encourage people to volunteer for this fantastic scheme and continue to help make a real difference in their community.”

After a petition titled “Greater Manchester Police & Andy Burnham: help us to make Fallowfield safe for students!” was signed by over 8,000 students and an investigation by The Mancunion suggested that students increasingly rely on Facebook for anecdotal advice about staying safe in South Manchester, the ‘Student Angels’ scheme is part of the Students’ Union’s response to make the streets feel safer for students.

Students interested in getting involved in the scheme can contact Jack Hougton via e-mail ([email protected]).

GCHQ to open new spy base in Manchester

GCHQ has announced plans to build a new intelligence base in Manchester which will open in 2019.

The security agency is opening the new facility in an attempt to boost the country’s defences against terror attacks, following the bomb attack the city faced last year.

The announcement coincided with CYBERUK 2018 conference at Manchester Central — the flagship event on cyber security for the National Cyber Security Centre.

Officials commented the base would be “at the heart of the nation’s security, using cutting-edge technology and technical ingenuity” to counter terrorists, threats and organised crime. They will work closely with MI5 and MI6.

Director of GCHQ, Jeremy Fleming, said he was “delighted”, and promised that the facility would create hundreds of jobs. He went on to say: “Our new facility will open up a huge new pool of highly talented, tech-savvy recruits vital to our future success”.

He also praised the impressive response of the city to last year’s terror attack which took place during an Ariana Grande performance at Manchester Arena. He commented: “Manchester is a city full of innovation and talent. It is also a city known for its tolerance and inclusivity, which last year was tragically attacked by someone who had neither.

“In that difficult time, we at GCHQ drew strength from the togetherness and resilience shown by all of Manchester’s communities. That’s how you tackle terrorism”.

Sir Richard Leese, leader of Manchester City Council said: “This announcement will create hundreds of jobs and represents a huge vote of confidence in the potential talent pool of employees in and around Manchester. GCHQ perform a vital role in helping to keep the country safe and we look forward to welcoming them to the city in 2019”.

GCHQ’s headquarters is located in Cheltenham, Gloucestershire, and it has offices in Scarborough, North Cornwall, and North Yorkshire.

The security agency also has some Manchester roots, when University of Manchester pioneer Alan Turing deciphered German codes at Bletchley Park, which provided crucial information to defeat the Nazis.